Mr. 2CB is a candy-coated hallucination in motion—a kinetic character study of synthetic delight. Rendered in saturated acrylics on panel, the piece evokes the euphoric absurdity of 90s rave culture, Saturday morning cartoons, and the controlled chaos of designer psychedelics.
At the center, a lanky, anthropomorphized test tube oozes yellow liquid and exaggerated charm, mid-strut with a come-hither smirk and magician’s hat in hand. The figure drips with stylized glee, limbs sprawled across a sharp, pink triangle speckled in black—a motif equal parts Memphis Group and pop warning label.
The backdrop’s minty teal stillness only amplifies the subject’s feverish movement, inviting the viewer into a space where pharmacology meets performance art. The titular reference to 2C-B—a synthetic phenethylamine known for its blend of psychedelia and stimulation—anchors the work in a specific cultural current: the cartoon as compound, the substance as spectacle.
